"zajalesque" meaning in English

{
  "etymology_templates": [
    {
      "args": {
        "1": "en",
        "2": "zajal",
        "3": "esque"
      },
      "expansion": "zajal + -esque",
      "name": "suffix"
    }
  ],
  "etymology_text": "From zajal + -esque.",
  "forms": [
    {
      "form": "more zajalesque",
      "tags": [
        "comparative"
      ]
    },
    {
      "form": "most zajalesque",
      "tags": [
        "superlative"
      ]
    }
  ],
  "head_templates": [
    {
      "args": {},
      "expansion": "zajalesque (comparative more zajalesque, superlative most zajalesque)",
      "name": "en-adj"
    }
  ],
  "lang": "English",
  "lang_code": "en",
  "pos": "adj",
  "senses": [
    {
      "categories": [
        {
          "kind": "other",
          "name": "English entries with incorrect language header",
          "parents": [
            "Entries with incorrect language header",
            "Entry maintenance"
          ],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "English terms suffixed with -esque",
          "parents": [],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "Pages with 1 entry",
          "parents": [],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "Pages with entries",
          "parents": [],
          "source": "w"
        }
      ],
      "examples": [
        {
          "ref": "1989, Benjamin M. Liu, James T. Monroe, Ten Hispano-Arabic Strophic Songs in the Modern Oral Tradition, →ISBN:",
          "text": "Long ago Julian Ribera pointed out that the majority of the cantigas (up to 90 percent) are zajalesque in form, and that in them the matla', which is repeated in writing after every stanza, functions as a refrain, as the musical notation proves.",
          "type": "quote"
        },
        {
          "ref": "1996, Dionisius A. Agius, Richard Hitchcock, The Arab Influence in Medieval Europe:",
          "text": "Although the notion of a pivotal position of the culture of Toledo is difficult to resist, and may explain the way zajalesque rhymes are to be found in the Cantigas, it does not directly explain the earlier interchanges: but it does provide a model whereby the conditions of receptivity, mentioned earlier, might well have prevailed at various stages in the history of the zajal, muwashshah and Occidental lyric.",
          "type": "quote"
        },
        {
          "ref": "2005, Manuel Pedro Ferreira, Cantus Coronatus D'El-Rei Dom Dinis, →ISBN:",
          "text": "The zajalesque rhyme-scheme (aa bbba [aa] ccca etc.) is further typical of the Portuguese and Italian songs with initial refrain and vuelta.",
          "type": "quote"
        },
        {
          "ref": "2012, Karl Reichl, Medieval Oral Literature, →ISBN, page 607:",
          "text": "The first four strophes of the poem exhibit a remarkably zajalesque structure, including an initial refrain, mudanzas/ghuṣns with rhymes that differ from the refrain, and vueltas/ simṭs with rhymes that coincide with the latter, the only exception being that of the fourth strophe, which, due to a lacuna, lacks a vuelta/simṭ.",
          "type": "quote"
        }
      ],
      "glosses": [
        "Characteristic of or similar to a zajal."
      ],
      "id": "en-zajalesque-en-adj-WfBI5re-",
      "links": [
        [
          "zajal",
          "zajal"
        ]
      ],
      "synonyms": [
        {
          "word": "zejelesque"
        }
      ]
    }
  ],
  "word": "zajalesque"
}

{
  "etymology_templates": [
    {
      "args": {
        "1": "en",
        "2": "zajal",
        "3": "esque"
      },
      "expansion": "zajal + -esque",
      "name": "suffix"
    }
  ],
  "etymology_text": "From zajal + -esque.",
  "forms": [
    {
      "form": "more zajalesque",
      "tags": [
        "comparative"
      ]
    },
    {
      "form": "most zajalesque",
      "tags": [
        "superlative"
      ]
    }
  ],
  "head_templates": [
    {
      "args": {},
      "expansion": "zajalesque (comparative more zajalesque, superlative most zajalesque)",
      "name": "en-adj"
    }
  ],
  "lang": "English",
  "lang_code": "en",
  "pos": "adj",
  "senses": [
    {
      "categories": [
        "English adjectives",
        "English entries with incorrect language header",
        "English lemmas",
        "English terms suffixed with -esque",
        "English terms with quotations",
        "Pages with 1 entry",
        "Pages with entries"
      ],
      "examples": [
        {
          "ref": "1989, Benjamin M. Liu, James T. Monroe, Ten Hispano-Arabic Strophic Songs in the Modern Oral Tradition, →ISBN:",
          "text": "Long ago Julian Ribera pointed out that the majority of the cantigas (up to 90 percent) are zajalesque in form, and that in them the matla', which is repeated in writing after every stanza, functions as a refrain, as the musical notation proves.",
          "type": "quote"
        },
        {
          "ref": "1996, Dionisius A. Agius, Richard Hitchcock, The Arab Influence in Medieval Europe:",
          "text": "Although the notion of a pivotal position of the culture of Toledo is difficult to resist, and may explain the way zajalesque rhymes are to be found in the Cantigas, it does not directly explain the earlier interchanges: but it does provide a model whereby the conditions of receptivity, mentioned earlier, might well have prevailed at various stages in the history of the zajal, muwashshah and Occidental lyric.",
          "type": "quote"
        },
        {
          "ref": "2005, Manuel Pedro Ferreira, Cantus Coronatus D'El-Rei Dom Dinis, →ISBN:",
          "text": "The zajalesque rhyme-scheme (aa bbba [aa] ccca etc.) is further typical of the Portuguese and Italian songs with initial refrain and vuelta.",
          "type": "quote"
        },
        {
          "ref": "2012, Karl Reichl, Medieval Oral Literature, →ISBN, page 607:",
          "text": "The first four strophes of the poem exhibit a remarkably zajalesque structure, including an initial refrain, mudanzas/ghuṣns with rhymes that differ from the refrain, and vueltas/ simṭs with rhymes that coincide with the latter, the only exception being that of the fourth strophe, which, due to a lacuna, lacks a vuelta/simṭ.",
          "type": "quote"
        }
      ],
      "glosses": [
        "Characteristic of or similar to a zajal."
      ],
      "links": [
        [
          "zajal",
          "zajal"
        ]
      ]
    }
  ],
  "synonyms": [
    {
      "word": "zejelesque"
    }
  ],
  "word": "zajalesque"
}